There are signs that art critique is trying to reconnect with the critique of reality. Not only does it put the current art production into a broader historical context, it relates its main features and trends to concrete political decisions and historical events. This new sense for historicity is, curiously, accompanied by the critique of art’s own obsession with the past in the variety of its cultural articulations: archives, documents, acts of excavating and unearthing, performative reconstructions and reenactments, testimonies, etc. It is alleged that this turn to the past disconnects art production from the historical reality and in that way from the future. A new turn is called for: back from the past to the prospectivity of historical praxis. However, any respond to such a call implies an ideological interpellation. One cannot become a subject without losing ideological innocence. Art is not an exemption - nor is the critique of art today.